Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Sudan and from Delhi.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1963 to 1976.
I'm losing my edge.
To all the kids in New York and Tehran.
I'm losing my edge to the art-school Mumbai kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1970 at the first Onyeabor practice in a loft in Enugu.
I was working on the theremin sounds with much patience.
I was there when Holger Czukay started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Al Stewart to the crunk kids.
I played it at the Hacienda.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Niagra. All the underground hits.
All Goldenarms tracks. I heard you have a vinyl of every D'Angelo record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a spring reverb and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Black Pus record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Isaac Hayes,
Albert Ayler,
The Evens,
The United States of America,
Skaos,
Buzzcocks,
Loose Ends,
Deadbeat,
Graham Central Station,
Tomorrow,
Pete Rock & C.L. Smooth,
Country Joe & The Fish,
Maleditus Sound,
Oneida,
Avey Tare's Slasher Flicks,
The Walker Brothers,
Groovy Waters,
Y Pants,
Unwound,
Deakin,
The Moody Blues,
Peter and Kerry,
Boredoms,
Aswad,
Glenn Branca,
Arthur Verocai,
Eric B and Rakim,
Yellowson,
Scott Walker,
Crispy Ambulance,
Delta 5,
Sparks,
the Slits,
Lightning Bolt,
James White and The Blacks,
Anakelly,
The Fuzztones,
the Human League,
Kerrie Biddell,
Minnie Riperton,
Sound Behaviour,
Rowland S Howard / Lydia Lunch,
Heavy D & The Boyz,
E-Dancer,
Soul II Soul,
Notorious Big And Bone Thugs,
Dave Gahan,
London Community Gospel Choir,
Sam Rivers,
The Last Poets,
New Order,
Grandmaster Flash,
Magma,
Simply Red,
Black Pus,
Stockholm Monsters,
Ultra Naté,
The Monochrome Set,
Television,
Steve Hackett,
Sight & Sound,
Jacques Brel,
The Tremeloes,
The Dirtbombs, The Dirtbombs, The Dirtbombs, The Dirtbombs.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.